The queer-centered YouTube series gets compiled into a winsome feature that works best as a Queer Culture primer.
Mike Mossalam’s debut feature is a vibrant mosaic of Queer Arab Muslim-American life.
The story behind one of the most powerful feminist anthems of the ’70s gets a glossy treatment that ignores its grittier reality.
Kirsten Dunst and Gabrielle Union’s cheerful high-school comedy finds ways to pepper charming rivalry with digs at cultural theft.
Park chan-wook breaks up his tales of blood and vengeance with a bittersweet tale of the thin, romantic line between compassion and delusion.
Marc Munden’s adaptation of the Frances Hodgson Burnett novel is too myopic to fully bloom, but it has just enough flourishes to work.
Olympia Dukakis is given a warts-and-all portrait that highlights her tremendous power and the foibles of “no bullshit” Method acting.
With loss of control dressed up in nutty numerology, Joel Schumacher’s 2007 thriller is a flawed thematic tie-in to his other work.
Frank Miller’s adaptation of Arthurian legend is filled with sumptuous fantasy visuals, but there are gaps in the girl-power twist on the myth.
Peacock’s loose adaptation of Aldous Huxley’s classic looks nice, but is empty under the surface.
Hulu’s spinoff of Love, Simon has a shaky start, but ultimately offers value to queer youth searching for guidance.
Gus Van Sant’s queer Western was received with scorn by critics when it first came out, but its celebration of the abject deserves reconsideration.
Miles Dolec’s low-budget thriller offers a horrifying dish to pass, but the ingredients are richer than the result.
Freddy vs. Jason is not a good movie – and that’s not just okay, it may well be transgressive.
Tracee Ellis Ross and Dakota Johnson have killer chemistry in a sunny if formulaic music dramedy.
The Favourite screenwriter Tony McNamara gives the same farcical treatment to Catherine the Great, to largely wry results.
Justin Pemberton adapts Thomas Piketty’s book on economics into an accessible (if overly neat) primer on capitalism throughout history.
Taika Waititi’s irreverent revamp of the Thor series, Thor: Ragnarok, manages to weave some much-needed criticism of imperialism among the gags.